There is something unique and confessional about folk music—perhaps
a function of its lack of audio production. Stories can be shared with ease
because the only threshold to performing them is having a guitar. Technically
trained voices are not needed, rhythm sections superfluous. All a good folk
song calls on is someone willing to share his or her story, with the requisite
honesty to not sugarcoat. Here—despite composing some of the most soothing,
children lullaby melodies—love songs are not the happily-ever-afters of young-reader
fairy-tales, but rather are tinged with regret and thirst and the unsatisfied. Work
songs do not extol pleasant bosses and
do not speak of the culmination of lifelong dreams, but rather seek respite
in death. Singers need only to tell the truth. The old joke holds if you play a
folk song backwards your wife comes back, your boss hires you back, your car
starts back up; folk music, forward, seeks simply to tell it as it is.
And yet, despite the honesty and confessional nature of the
songs, they, notably, are meant to be sung by anyone. This, perhaps, speaks to
the universality of their themes. But more than that, it reveals something about
the art form that songs are meant to be shared (the vast number of covers and
reworkings we sang in this class speaks to this point). Each tune has its own
message, but its performance carries a greater one: our own unique trials can
be overcome in unison—no burden is truly solitary.
In a way, this message dictated my own experience in the
class. I told stories in voices that required gymnastics to pretend were not
mine. They were harsh. They were honest. But they also were not easy to share—where
my stories lost focus, and ultimately did not succeed was where I assumed a
character, other than me, to tell them with distance. Where I succeeded, the
act of camp-circling up and sharing the stories on an equal plane allowed me to
tell without fear of judgment, to let off my issues and see them as anything but
solitary.
The voices of “I Ride an Old Paint” and “Sweet Home Chicago”
are so clearly different. Yet as performances by groups they are made level,
and hint at similar truths. This to me was the chief takeaway of “Songs and
Stories.” Montana and Louisiana, young and old, prisoner and free—these are all
abstractions. The stories we tell may fluctuate by circumstance, but no story
is specifically an unnaproachably ours, or mine. They are not ours or mine, nor
should they be kept that way. The power in an experience is that it is shared.